Today, the world of video games is in an interesting position. On one side of the scale are complex, well-developed projects that stand out not only for their deep storylines but also for their high-budget graphics. They offer a virtually cinematic experience. On the other side of the scale are mobile games with short sessions that can be played on the go (sometimes literally). Increasingly, both players and developers are wondering whether blockbusters will replace all other games. The contrast between mass and high is obvious, but the reality is more complex.
No one disputes that the pinnacle of auteur game design is games with a storyline — projects such as The Last of Us Part II, Red Dead Redemption 2, and Cyberpunk 2077. They demonstrate that entertainment is not everything; video games are truly capable of telling complex stories. The emotional response to such games is comparable to that of literature or cinema. Each of these games has a budget of hundreds of millions of dollars and takes between three and six years to develop.
And yet, players spend more than half of their gaming time on mobile projects. These are not ports of their favorite complex games, but rather the simplest arcade games and simulators, designed for short gaming sessions. Cut scenes, acting, and plot are often absent in such games. However, such games are attractive due to their understandable mechanics and lack of a barrier to entry. Story-driven projects rarely make it to the top of the App Store and Google Play, but you can find products such as Subway Surfers, Candy Crush, Roblox, and Stumble Guys there. They offer quick rewards and can be played repeatedly.
Even big-name publishers are ready to adapt their projects to the casual gaming format. For example, the Assassin’s Creed series has a mobile version. Call of Duty also features a mobile spin-off, which has been available for a long time and boasts millions of active players. Despite high levels of criticism, Diablo Immortal brought its creators half a billion dollars in its first few months after release. Thus, even the “heavyweights” have recognized the power of short-term interaction. Increasingly, more people are entering the mobile environment to capture their players there.
A similar trend can be observed in the iGaming industry. Many operators who previously worked primarily for PCs have begun to adapt their projects to mobile requirements. A striking example is the popular Lucky Jet money game, which was released on mobile platforms in a short period and was developed using HTML5 and JavaScript technologies.
When entering the mobile market, demographics must be considered. Statista data shows that in the United States, the average age of an active gamer is 33, with more than 40% of players being women. This is an audience that cannot always find the time to spend 60 hours on an epic game with complex dialogues and moral choices. However, these players do have 15 minutes to play a short game with intuitive rules. Such games are also an excellent way for them to relax before bed.
Does this mean that story-driven games are doomed? Not. On the contrary, they have a bright future, as evidenced by the development of platforms such as PlayStation 5 and Xbox Series X, as well as the growing share of PCs. Projects such as Baldur’s Gate 3 and Elden Ring demonstrate that a significant audience is willing to invest dozens of hours in exploring the world and its characters. Such projects become the subject of cultural discussions and are adapted for the screen.
The situation is paradoxical: simple games dominate in terms of reach, while large projects shape the cultural agenda. A parallel can be drawn with cinema, where millions of people watch blockbusters, but the status and reputation of the industry are shaped by Oscar-winning dramas.
Is it worth talking about substitution? Most likely not. This is not about competition, but about specialization and coexistence. The market is large enough to accommodate both the mass market and the high-end market. Recent practice shows that these two worlds do not necessarily have to compete with each other — on the contrary, they learn from each other. Complex story-driven games are becoming more accessible, and simple projects are gaining not only a level system but also a narrative.
Sandra Larson is a writer with the personal blog at ElizabethanAuthor and an academic coach for students. Her main sphere of professional interest is the connection between AI and modern study techniques. Sandra believes that digital tools are a way to a better future in the education system.
